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did ichi grow out of loli yet
I actually quite like it, even though it of course still needs bass and proper drums. Especially the first bar of the intro reminds me of a song I used to listen to but I cant put my finger on where exactly I heard it. Also, I dont quite understand why you didnt just write everything in 4/4. Also, no idea how the gpx sounds, but on the gp5 you use clear jazz guitars, which sounded really nice actually but made the drums sound way too erratic. I'm not a fan of letting all hell break loose in the drum section, less use of constant 16ths would be appreciated on my part.

I actually cant say much because while I really like the rhythm guitars and some section of lead, I don't like the shreddy nature of it and would personally tone it down quite a lot. But at this point I would just impose my style on yours so yeah, I do think though that whatever youre trying to do will work.
I'd like to take a look if you upload a gp5 version for some of us old timers lol
this wasnt even that bad of a song, considering how horrible of a meme breakdowns are. The Riffy verse threw me off a little, it didnt seem to fit in that well, certainly the weakest transition in the song. The chorus grew on me and I really liked the OUTRO section, except for the OUTRO BREAKDOWN section which again threw me off a bit as the previous section already seemed like a eprfectly good outro.

I personally would experiment with a variation on the chorus with an ascending chord after the I WAS GONNA CHECK THE TAB TO SEE WHAT CHORD I WAS TALKING ABOUT BUT FUCK TRYING TO FIGURE THAT OUT WITH YOUR TUNING so yeah. I was even gonna go in and play around with the transition to the riffy verse, but I cant stand nonstandard tunings at all and so I wont :/

and as usual my crits sound way more negative than I intended so yeah
well blues was just an example, dont force yourself to write blues just because of that. But in metal there is a lot of easy enough metal and a good amount of simple but good rock, too.

My music is mostly shaped by thin lizzy, testament and some other bands I listened to tons, which all happened to have fairly simple song structures of the usual Intro - Verse - Chorus - Verse2 - Chorus2 - Bridge/solo - Chorus3 - Outro which applies to a lot of my songs, especially the ones I wrote back in the day on here. Actually, every single one of my songs that I wrote while I was in my "learning" phase, was inspired by a very specific song or riff that I wanted to extend upon.

Not to highjack your thread, but maybe youd like to check out this song which, despite the filename, was the 4th song I ever wrote https://www.ultimate-guitar.com/forum/showthread.php?t=1155657 It's essentially just a blatant copy of which I wanted to emulate, but in trying to do so, I noticed what worked and what didnt.

As you can see I completely copied the intro drum roll, the whole idea at around 0:40-0:50, the blast beats at the climax while using the typical fast thrash pattern for the verse. The whole "Break" part in my song is actually a copy of another vader song, shape shifting, that youll find on youtube easily, which has a similar way of changing the pace in the drums to then suddenly lead into a guitar solo. Shape Shifting by the way is probably my favorite death metal song and a great example of a song that keeps changing it up while making sure youre never lost. And has about the best drum sound I can imagine for metal, definitely worth looking into.

Another example of that would be this song https://www.ultimate-guitar.com/forum/showthread.php?t=1248779 which I based on testament's "all I could bleed" and someone even pointed out it sounded like them, which told me that I acheived my goal.

Ideally, this post would give you some motivation to try your hand at something similar, because it forces you to think about what it is concretely that you like about a certain song and how it is achieved musically, to then abstract that concept to apply it in a different to your own song and in doing so, you can learn that technique and then really make it your own.


edit: seems the links to the gp files are dead so here are backups https://dl.dropbox.com/s/rx8xua1yrh0iu82/%239.gp5?dl=0 https://dl.dropbox.com/s/93szr6cnnm2s72l/%2331.gp5?dl=0
I first took a listen before reading your post and the first thing I would have said is that it clearly sounds like something a beginner would write but that's ok then.

Well, when I started writing songs with guitar pro, or writing songs at all for that matter, I started with the drums. To me, metal is heavily reliant on drums and not on the guitar, but anyway. When I start something new, I want to first have a good understanding of the underlying structure of things. My advice for you is to work on the drums. I'm not trying to be condescending at all here, but you should really ask yourself, if the drums you have written are realistic or at all practical. And if you say that you dont know how to write drums, then just listen to some of your favorite tracks and try to transcribe, aka copy the drums. It's actually what I did for one of my first songs, copying a section of Vader's I shall Prevail and then putting my own guitar over it.

Essentially, I cant make out any reasonable structure and apart from not sounding sonically pleasing, I can also not see any reason or meaning behind your guitar riffs. Now this sounds harsh, and you have to bear with me for a minute, for I have listened to way too many psychology lectures recently, but the way I perceive and enjoy music, im always first looking for a known structure, something that is easily accessible, a groundwork that I can rely on which sets the basis for the rest of the music to explore new ideas from that known ground. 
Now when I listen to some of JazzDeath's pieces, or any of the other great UGers, DiminishedFifth, Reddeath9 etc who kept writing those crazy ass pieces, so complex that I stopped trying to understand them, I could only listen in awe and enjoy them without being able to really grasp them. However, the whole subjetivity of art argument doesnt quite work in this case here, because I have reason to suspect that what youre trying to accomplish is actually much different than what you have written here.

Now this might be different for many other people, and certainly my somewhat conservative way of appreciating music is able to explain why I cant get into prog at all, but I do strongly believe that there is an objective side to music which cant be explained away and as boring as that sounds, there is a reason why a lot of guitar teachers start with the blues, because it offers a simple, easy to understand and widely recognized framework while being quite modular and easy to extend upon.

Anyway, it seems to me like you jumped straight into trying to write some fringe prog tier stuff without getting down the basics at first, which is what I would recommend you do first, and instead of bruteforcing it, going trial and error, I would recommend you first just copy someone elses style or at least grab ideas from here and there. A couple years back I was happy to stumble upon another UGer who somewhat inadvertently laid the foundation for my own writing style over the following years and whom I greatly benefited from.

I hope this wall of text helps, it's certainly better than me trying to sugarcoat the fact your song sucks as to not offend anyone, which I just did anyway so that's that. But dont worry, if I had ill intent I wouldnt have spend all my time writing this
Wasnt gonna make a comment at first, but the stuff at around bar 120 onwards reminded me of this lol

anyway, the song sounds really good and seems well executed. Nothing I would listen to so I cant say much since I would just write something completely different instead anyway haha. I guess the fact that nothing wrong jumped out at me and the fact I liked it tells you that it's good.

edit: the spoiler tags are fugged here so sorry for the huge thumbnail
yeah the gp5 felt indeed a bit lacking, you should try just recording the gpx, using audacity if gp6 doesnt have a proper way to export it, and then upload it tp dropbox or something. The song is definitely nothing I personally would be listening to and I guess it would only really shine with vocals and good lyrics, but I can agree with improof that the outro was pretty good. Some of the transitions could need some work cause they felt pretty abrupt, but at the same time that could be intentionally.
When songs are not my cup of tea, which they rarely on UG nowadays, then it's hard to tell error from intention so im sorry I cant give any constructive criticism. I'll be giving your bandcamp a listen though for sure.
Hey, thanks for the heads up. I listened to all of them and there's nothing really wrong with them, but also nothing for me to really critique since it's way too boring musically. Poprock really is more about the lyrics than the music, especially when all the music are just powerchords. I see you tried to write in different styles although I wouldnt go as far as saying that these songs actually belong to different genres, since pop already is a blanket term and these certainly fit the bill.

It just so happened that last weekend I was on a longer trip which had me listen to the radio for the first time in years again over a prolonged period of time, and inbetween 900 kilometers worth of listening to radio, I found like a total of 3 songs that I considered worth listening to again, 2 of em being songs I happened to know and was actually surprised to see on the radio. Then last night I happened to click myself through a bunch of 2000's poprock and just wondered, who the hell would listen to a whole album of this.

In any case, not trying to be a dick here at all, just a general rant about pop I guess. The fact of the matter is though, that you seemed to have done what you set out to do and there is nothing wrong with it. I'm just not the guy to be critiquing poprock and I was just curious to see what your songs were like.

cheers mate
If you export some to gp5 or midi I'll gladly take a listen but I dont have gp6
I think there is a little more potential with the ending, right now it's rather boring. There are a lot of dynamic changes within the songs and I expected something more than a bland repeat and stop for the outro. I see what youve been trying to do at bars 88-104 but I dont like its execution. What you have written there isn't strong enough to stand on its own for. I'm listening with headphones and couldnt hear the rhodes track at all but even with it turned up it sounds too boring. Youve done a great job keeping all the parts interesting and different and this one just stands out.

Aside from those 2 points I mentioned, the song seems pretty well executed. It has just the right amount of repition, being catchy without seeming formulaic which is a great thing to achieve and, I feel, the most important aspect in this genre.
I listened to the eidolon in the first post and only later realized there was a new version. While I was listening to the first version, I didnt know if I should make a post but I just had to write something when I listened to the ending. Only then did I realize it and listened to the most up to date version.

The last version fixes most of the issues I had with the first version, it sounds much more refined and less "over the place" than the first version, which is usually my problem with proggy type things. I had to think of some castlevania type game, probably because of midi itself but also due to party like ei-4 which sound very videogame-y to me and the new ending.

I really liked that rhythm thing in bar 90, for me it was the most interesting and memorable part for some reason, it made me want to listen to it again to see wtf actually happened.

I still feel that the ending portion of both versions, roughly the last 20% of the songs, dont really fit to the rest. For me the song doesnt go full circle but instead just goes on in one continous stream. That's fine in general, but it does sometimes lack the closure the listener wants near the end. The later version was of course a bit better, but that piano part in ei11 for example came abit out of nowhere. Especially the first version's ending really sounded like more of an intro to a whole nother song, leaving the previously playing part unfinished.

Overall though, comparing the 2 versions, I was gonna complain about a couple of drum issues in the first one but the drums really improved later on and felt much more alive.
I think this is my favorite song of yours, it flows really well, the rhythm and note choice is always surprising and interesting without going too overboard. Even though it's just midi the music already feels alive.

Do you know when guitar pro completely lags out and it just starts playing random noise? I always love it when that happens in the middle of your songs cause more often than not, it actually sounds quite awesome and fits right in.
hey man, long time no see, thanks for the feedback. I totally agree with the structure of the song being all over the place. I just build the song experimenting on the guitar which, as you might remember, is not how I usually make my songs, so I basically had a couple of cool chord progressions that I definitely wanted to use, yet no idea what to use them for exactly.

What you are referring to as the bridge was actually supposed to be the verse. What really destroys a traditional song structure is the part at after the chorus, at about 2 minutes. I can totally imagine some background keys there or a very mellow, ambient type solo over it, leaving the chord progression to stand out, while the part after it at about 2:50 is more of a verse-variation and that whole thing gave me a really hard time thinking about which part should have vocals or not.

As for the D over the G#, I agree that it takes some time getting used to but since youre sliding right down to a C# it sounds quite nice on the guitar and is one of my favorite parts of the song, apart from the transition from the main riff to the first verse 45 seconds in.

About the intro and outro, I'm infatuated with the concept of only bringing back distinct intros once more for the outro and I while I considered usicronicing it again after about 2 minutes, it felt like it would in turn weaken the impact of the outro. I like the abrupt changes and while I agree with the song dragging in some parts, I generally like its flow, except I havent quite figured out how to handle it.

Anyway I'll play around with some of your suggestions so thanks for that
No idea what genre this even would be, it has guitars and drums and chords and stuff so yeah.

Wrote this a while back on guitar and really like the chord progressions but I found it very hard to structure and have no idea over what part lyrics should actually go. On top of that, I accidentally must have deleted its GP file and only had the midi left, but importing it leads to all kinds of issues so better just listen to it.

I feel like the chorus, especially the final one, is a bit too weak to give the song proper closure, it gets a bit repetitive but I found no fitting way to fix it so here it is.
Yeah, I never listen to music I dont like (duh) and there's not a whole lot of jazz fusion on this board so I usually have no listening experience or reference when it comes to genres like this one, so always take my crits with a big pinch of salt. I usually just use thing lizzy style rock as my benchmark for rock song structure and that of course might be a bit off.
I like the intro except for the drums at around bar 10. The transition to the next part works quite well and I really like the feel of the first verse, I also would have liked the transition to the first chorus, if the chorus would sound different than the intro. The transition you have there at the end of verse 1 would kinda hint that the song is taking the listener somewhere else now, yet you bring them right back to the beginning which felt like a letdown. I do like the twist you give the second verse though in that regard.

I feel the next chorus would have been a lot better if it wasnt the 3rd time that part got played. Basically, by changing the first chorus, youll benefit again here by keeping the riff fresh for longer.

I generally dont like the drum stuff you do at the end of the chorus parts, but that might just be guitar pro. I would also be a bit careful with having too many break in the song where you end on a drum hit and have the some chord ringing over 2 bars, it still felt OK throughout the song but one more of those and it would really have put me off.

I'm not qutie sure how the bridge ties in with the song, it's fine as it is but I just feel like it would have been a great moment to explore a different sound than the rest of the song. I like the solo-ish character of the bridge 2 and pretty much the rest of the song though. As a closing statement, I'd like to mention that I don't that constant quarter notes of crash cymbals sound as awesome as midi would make you believe. For an energetic and fast song it can work out, but you're leaving yourself little room to change the tension of the song, especially for bridges, solos and outros. Basically, if your drums are always at 100%, you cant quite use them to build a climax without them first coming down a bit. The result is that while I listened without looking at the tab, the song was already over before I realized I was listening to the outro, which you'd naturally expext to be climax, or at least a bit different than the rest.

Anyway, I still liked the song even though it's not my kind of genre at all. For a closing statement, me being a bass man I never noticed there was bass in there, imho it can't hurt to give some love to the bass track every now and then.
It's really hard for me to say much about the song because drums, for me, are the most integral part of any piece and can completely change it around. I can imagine both very soft, jazzy drums but also heavy metal drumming underneath this and it makes it impossible for me to tell how it's supposed to sound. I do like the solos and guitar work overlal and it does sound quite nice with RSE on but I don't know if that's intentional.

Well, I didn't spot any obvious "mistakes" so all I can say is "I like it" which really isn't much, so, sorry. :/
I like the intro, I can imagine it becoming quite catchy and having a lot of replay value so to speak. Not to found at the action around the 23 bar mark and that part, but I really don't like prog stuff. It seems like that part doesnt really serve any purpose in the whole of the song and frankly, it does sound quite boring and bad to me on its own but that's just me so no worries. The following transition at bar 39 is quite nice and I do like that riff, however I feel like it could have been executed a bit better. That part between bars 44 and 45 for example, I like those kinds of things and I always admire them when they work, but for me, this one just doesn't work. The beginning and ending portion of each such pattern seems fine but the middle part puts me off a bit.

loving the comeback at bar 53

For the Dunk part, I cant really imagine what those guitars would sound like in real life. I like the rhodes but dont quite know what to think of those guitars. I like the ending but feel like the song could have been a bit longer.

But anyways, I very much do enjoy out of the box soloing and fusion stuff but if there's one thing I need in a song then it's conservative song structure, and that's the reason I just cannot for the life of me get into "prog" at all, so better take anything I say here with a pinch of salt as I dont have much listening experience in this genre.
I listened to it last night but couldnt get into it on a first listen, now that I'm listening to it a bit more in depth it's much better.

I like the uneven 3/4 bar in the Intro B. I was almost afraid it was gonna carry on in a proggy way but thankfully it remained straight. The transition to the verse is really, but I'm just a sucker for syncopation so I'm biased here. Only just noticed that you're German too after checking if that piano really was a piano or just midi guitar but I'll just carry on in english anyway.

Not so sure about the pre-chorus, maybe actual instruments would be different but here in midi it actually sounds like a part that would have to have vocals over it, which is a bit ironic. Am I right in assuming you wrote this piece for a specific band in mind and thus only have a single guitar there?`Usually, just having two guitars panned left and right fills such parts nicely enough.

Really liking the chorus and the build up throughout, especially the slight dissonance in the backing vocals.

The bridge however feels a bit weak but im generally not a fan of those dotted note groups, makes me think of coldplay, urgh. As for the following main riff, I think the 3/4 thing here doesnt work as well as the listener is coming into it with a different feel. It works out in the beginning because you don't know whaat to expect, but after the nice climax in the chorus, it feels a bit to weak. Even more so because such hiccups usually make things feel even less "confident".
On one hand it was nice that bridge here was bringing back an earlier theme and I recognized it, but at the same time, I feel that there is a problem with the fact you're ending the little bridge melody on relatively high and long note. It feels like the music guides you a certain way and you do that quite well throughout the song, but then this one bar here in the bridge leads you into a dead end and a break, and just 2 bars later theres another such break with the 3/4 rhythm thing.
Essentially it made me lose my vibe a bit and I feel that the 2nd bar of the bridge is mostly at fault is what im trying to say.

The guitar leads in the second verse are very well placed and done, I was almost going to just skip it, expecting it to be merely a copypaste of the first verse, so, well done.

I still dont like the bridge bars 119-120, it seems to be the only thing really standing out in this song that I dont like so far, but ofc thats just my taste. I do think though that its rhythm does conflict with the last bars of the chorus. It's like, the rhythm in those 2 bars are obviously different from the rest of the song, which, in itself, is not a bad thing at all. It just means you have to transition into it in a certain way to make it work but that is kinda blurry. Just listening to the first bar of the bridge alone, it sounds like it was just the beginning of a longer pattern, like a whole 16bar verse, rather than a special fill or break that stands on it's own. And so what happens is, when I listen to the song I get to that part and I expect it to be the next main thing for the next 16bars and im tuning in with that expectation, but then it actually turns out to be a break instead and that throws me off.

Anyway, I hope my ramblings here are somewhat meaningful.

The tempo change is executed well, it's quite hard to get these right but this one works. I feel what you have here works just fine.

I like the pre solo part. Cant say much on the piano solo as I wouldnt know how to write one myself. It didn't blow me away but that's just taste, it does work though.

The ending works fine but I have one point of criticism here. I basically see the type of ending youre going for and why you're going for it, it fits quite nice to a stretched out solo part you have before it. However, and this might just be due to the midi sound, the solos were not enough of a climax for me in order to make that particular style of ending work. Now this is mostly a sound thing, if played by an actual band it would make sure to play a bit more energetically towards the end, but still, it's not like you couldn't apply the same thing to guitar pro midi and make it work regardless.

Anyway, as you ought to have been able to tell by now, I'm quite nitpicky and my crits usually end up more negative-sounding than they are supposed to be. The music is nothing I would listen to myself for fun so to speak, but I do think it is a very well made song and most of its "Problems" stem from guitar pro and midi and while I write guitar pro songs for the sake of it and try to make them sound as well as possible, I do understand the people who just use it to save ideas and give it a bit of leeway in terms of what it would actually sound like if played by a real band.

Not quite a proper closing statement but there you go.
I've been working on this piece for some time now, trying to write something Fela Kuti oriented stuff but I also have been stuck for a considerable amount of time now and wanted to post it before I might lose interest entirely. I just feel like whatever sort of solo I come up with, I write a few bars but dont really like the sound, which is something that had never happened to me before in my songwriting process. After failing multiple times at a sax solo over the final part I'm now envisioning a clean/mildly overdriven guitar solo there but nothing seems to work out so far. If someone has a spontaneous idea, even if just a couple notes to kick it off, feel free to give it a try.

In any case, I wrote this with RSE guitars and MIDI drums. If you dont have RSE, use the "for MIDI only" file, although you're really missing out.
Wow, the final section of this really feels like a rollercoaster ride in the sense that on my first listen, I was thrown back and forth between losing grip of the rhythm yet catching it again half a second later. It definitely required my full attention and just as I thought I'd lose it, the next couple of notes somehow brought me back in. Really interesting section, would like to know if other people here feel the same way about it.
Quote by JazzDeath
Not intentional, I still don't know what you mean by tetris reference ;o.
now go ahead and tell me this wasnt intentional
Damn, finally some piece in my favorite genre of metal and then you keep me waiting with no posted file >.
Still writing the same stuff 5 years later eh

Is the tetris reference in bars 12-13 intended? Kinda threw me off a little, but not necessarily in a bad way. I liked the rhythm change at bar 42, I love those things but this one didn't feel clear enough, I personally would have preferred if you just left it at the change to the triplet feel without immediately destroying it at the end of every bar again. I'd try leaving that triplet feel for 2 bars or so, just enough time for the listener to get caught off guard by that shift, luring him into believing that this is gonna be the new feel, only to be destroyed again a second later. I feel like the 2 changes you make here due to the nature of that drum pattern are a bit too much.

To expand on this, on my first listen I was focussing on the nice soloing over it so the rhythm change caught me off guard, as it's supposed to. But since you already destroy that feel at the end of every bar again, it becomes quite random. I didn't realize that everything in the drums past bar 42 is actually just the same looped bar, for me the whole thing was a tad too complex and if that happens, I get thrown off completely, rhythm feel wise, and basically stop trying to understand it until I finally get back into it again, but that usually doesnt happen until the following section.

Anyway, after many years of not posting, I'll have a new piece coming up shortly, would be nice if you can check it out then. Cheers mate
It also depends on the style you want to play, I have no idea how it's done it metal, seems most people are playing with fingers there, but for classic rock or punk you can certainly want a good picking tone as well. Playing slower rock ballads or more mainstream rock will require fingers, though. There is no need to waste all that potential.

I also thought I wouldnt need to practice plucking until I joined my first band.
Quote by Hail
this is because a pick is a natural compressor. it's the same with using a plectrum for bass, really.
This is too simple of an explanation, it sounds like the main reason the bass has a wider dynamic range is because it's not usually played with a pick, disregarding all other factors involved which I deem more important than the pick. If you're saying that playing a simple guitar riff on bass with a pick is just as easy when it comes to steady playing, then you never seem to have actually played the bass.
I've never had enrie ball strings on but the brightest I've found so far are warwick red label. Brighter than the fender and d'addario 40-100 steel roundwounds I've tried, however they are incredibly lacking in the harmonics department. I was surprised how much of a difference that made. If they didn't have that problem, they would be perfect for me.
One thing I noticed completely changing from guitar to bass are the dynamics, depending on your style of music you might notice that playing each note with just the notes with just the right amount of strenght is more important and you have less room for excuses.

Another thing I noticed is that you can play the bass in many different positions, concerning the right hand, and you have to develop a feeling what playstyle suits the part you're about to play best.

Granted, I was a mediocre guitarist at best, but I never found myself constantly switching playstyles, even within a single riff.
hey guys, I just have a small question and thought I might as well ask here instead of opening a thread.

My band recently got an old vocal reverb effect from the 90's. I haven't looked at it yet and being a complete newbie, where would I plug it into the chain? Currently it goes
Mic -> external preamp -> usb interface -> PA

We also might get a compressor soon, where would I fit that, then?

thanks in advance for any help
Quote by PunkRockerMatt
Hahah ok fair enough, I understand.

1 last question tho, what if I don't think the song is good enough?
I guess I'd play it anyway?

ideally, everyone would be on the same page when it comes to "good music".

What I mean is that each song has an objective and a subjective quality to it. I guess I might be pretty conservative when it comes to songwriting, but if you analyze songs from experienced writers and compare them to songs from inexperienced writers, you will notice issues that are so big, they simply can't boil down to taste anymore.

If you feel that you only "dislike" the songs, then you have to come to terms wiht them and try to appreciate them but if you honestly think that they have actual flaws, then you should try to fix them and hope that everyone agrees.

When I encounter such issues with my band where I do most of the arrangements we try to have proper arguments and explain to each other how a certain change in the song affects the mood and the sound, resulting in everyone feeling confident in the song, even if they don't like it.
I don't know, some people don't have a knack for behaving properly in public. If your bandmates are the type of people that make drunk posts on the internet, then problably dont't make them admins.
im a bass player for the most part though I hae been playing guitar a couple of years ago, and it seems to be that you have very large hands, at least large fingers.

Actually, I just grabbed my guitar again and checked. I also have pretty large hands and long, spiderlike fingers and never had any problem wiht my left hand, ever. Even after playing 16 hours over 2 days the other weekend.

There are 2 main differencies between our hand positions:
1: I keep my thumb wrapped around the neck in lower positions and gradually retract it upon reaching higher registers. I never really noticed this myself, really. Basically, when I fret something like a D, the joint of my thumb roughly sits on top of the neck, like on the edge of it, if that makes sense. When I play some bluesy improv in the 5-7th fret area, the tip of my thumb still protudes a bit from the neck as I usually only rest the joint on the neck, not the actual tip. Only when soloing beyong the 12th fret do I switch around a bit and rest the tip of my thumb against the center of the neck, as you do in these pictures, too.

The 2nd difference, although it might very well be connected to the first one, is that my wrist is _always_ straight, no matter where im fretting. In your picture though it looks bent and incomfortable as hell which I am 99% confident is causing your problems as a bent-forward wrist increases the tension in the area that is hurting for you.

I hope this all made sense as I have a hard time describing my positions without pictures, but anyway, hope it helps.
yeah that's him. I meant to type "aqua", but my typing has gotten worse of the years as I stopped actively refining my english skills which was the reason I joined UG in the first place.
to be honest, I'm quite surprised to see ihci and momie, shred, ein and everyone still in here. Even you, darkcheef, didnt you have this one squa type pokemon as your avatar?
wow, cant believe this thread is, like, more than a year old and still alive.
I take it this is no final recording, but you should still play as tight as possible. It was hard to get into the groove of the songs.

Why cant you drive: The chugging part after the first chorus is kinda unnecessary as it doesn't add much to the song and is boring. It also is played very sloppily, I even thought that there was supposed to be some change in tempo. The ending could need a little bit of work since right now it just kinda stops. You should have the drums clearly mark the end and prepare the listener for it.

Bothering You: This song I like the most. Ending again is a bit off, I personally wouldnt have used a fadeout here. As a bass player a like the groove, though again it will need more precision here. The harmonized vocals worked very well.

I didnt listen to clink because the sound of the acoustic guitar was too annoying.

Too Much: The tempo changes worked well and the half time feel had my foot tapping. I didnt quite like the chords you use in that "I wont give up" part, if I made out the words corrrectly, this part kinda doesn't fit in. I can see what you're trying to achieve with that part, but it just isnt working in my opinion.

Now this may have seemed pretty harsh but overall I still liked it a lot.
It is vital for a band to share the same vision. If he is a decent bassist and it would require some time to find another one, then you might want to sit down with everyone, including him, outside of rehearsal and talk it through.

Basically, you all will have to make compromises. If you dont find a middle point that both parties can confidently agree on, then I can only second Alan on kicking him out. Hopefully the guitarist would understand.
I personally would be happy to be able to have rehearsal in my own garage (if I had one in the first place) without having to fear to get the cops called on me by neighbors.

I would do the following:
- Actually get some earplugs and use them.
- Sit down with the whole band and force a set day and time for rehearsal. It seems someone in your band will have to compromise, but this is what life is about, especially as an aspiring musician. If you don't have the right people with the right mindset for a band then forget about it.
- Work with deadlines/ultimatums because it seems you wont get anything done otherwise. If your bandmembers really are both, close friends of yours and serious musicians, then there will be a way to get a set day for practice.
- Girlfriend-time is not a valid excuse for a musician to be skipping rehearsals.
- Seeing as you are still in highschool and may be the main songwriter of your band, try to find somebody (be it on the internet or irl) who is a bit older, has had some band and songwriting experience and can look over the stuff you have come up with so far

Concerning the last point, I've just a couple of weeks ago met with a band looking for a guitarist which also was starting out fresh and didnt have much song material at all. Me being 21 they were ~4 years younger than me and judging the way they played their song and tried to work on it, it was apparent to me that they had very little experience in songwriting, completely lacking any structure in their approach.
Now, being older doesnt necessarily mean you are a better songwriter, but if I think about what kind of bullshit I would have tried to play with a band 4 years ago, then it wouldn't have been surprising if noone wanted to show up for rehearsal.

In any case, good luck with your band and I hope you get it together